St. Cyriac Church of Wiwersheim dans le Bas-Rhin

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Origin and history

The St. Cyriac church of Wiwersheim, located in the Lower Rhine, was built between 1887 and 1888 to replace two earlier buildings: the former eighteenth-century parish church, abandoned since the 1830s, and the chapel Notre-Dame des Pains, used as a place of worship since 1843. This project, marked by financial tensions and conflicts between inhabitants, saw the demolition of the two old buildings to erect the new church at the site of the chapel. Despite an initial budget of more than 30,000 Reichsmark, twice the municipality's annual revenue, work began in 1887 with the mobilization of parishioners, including women and children, to transport materials.

Designed by architect Henri Hannig, the church combines architectural simplicity and historical heritage. Its classical plan combines a late Gothic choir, the only vestige of the 15th century chapel, and a neo-Gothic nave. The furniture, from the previous buildings, includes a 15th century building, stained glass windows of the same period attributed perhaps to Pierre Hemmel d'Andlau's workshop, and paintings of the 18th century, some attributed to Joseph Melling. Funding difficulties have forced economies, such as the re-use of the old choir, dismantled and restored to its current location.

The first church in the village, dedicated to St.Georges, dates back to the 12th century and was replaced around 1700 by a building dedicated to St.Cyriac, criticized for its small size. In 1843, the chapel of Our Lady of Pains, acquired by the commune, became the parish church until its demolition in 1887. Despite opposition from the factory council and local families, the project was completed with a consecration on 26 February 1888. The church was restored in 1995, thus preserving its artistic and historical heritage.

The furniture includes four altars, including a neo-Gothic high altar from the church of Saint-Pierre-le-Jeune in Strasbourg, acquired in 1893. A wooden stake of the 15th century, with unusual postures, and baroque statues of Saint Anne and Saint Sebastian (circa 1700) enrich the interior. The stained glass of the choir, dating from 1480-1500, represents a Virgin with Child and Saint George. The baptismal fonts, composed of a 15th century base and a 1694 tank, illustrate this superposition of eras.

The paintings include works by Joseph Melling, such as Saint Cyriac healing Arthemia (1787), and an anonymous 18th-century series on the Passion of Christ. Two tombstones, including canon Laurent Gurlner (1534), and 18th-century woodwork complete this ensemble. The church, despite its tumultuous origins, today embodies a preserved Alsatian religious and artistic heritage.

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